Skip to main content Smithsonian Institution

Search Results

Collections Search Center
22,250 documents - page 1 of 500Result pages are truncated to 500.

Dorr Bothwell papers

Creator:
Bothwell, Dorr  Search this
Names:
Pollock-Krasner Foundation  Search this
Adams, Ansel, 1902-1984  Search this
Adams, Virginia Best  Search this
Adnan, Etel  Search this
Chinn, Benjamen, 1921-2009  Search this
Falkenstein, Claire, 1908-1997  Search this
Howard, Charles, 1899-1978  Search this
Jackson, Martha Kellogg  Search this
Packard, Emmy Lou, 1914-1998  Search this
Extent:
10.6 Linear feet
1.72 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Date:
1900-2006
Summary:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.
Scope and Content Note:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.

Biographical material consists of biographical sketches, resumés, identity cards, award certificates, typescripts of autobiographical interviews, address books, and a file concerning UFOs, spirituality, and philosophy.

Correspondence consists of letters exchanged between Bothwell and her colleagues and friends discussing their art-related activities, travel, and birthday greetings. There are scattered letters from Ansel and Virginia Adams, Etel Adnan, Benjamin Chinn, Claire Falkenstein, and Emmy Lou Packard.

Personal business records include teaching contracts, contracts and royalty statements for the publication of Bothwell's book Notan, insurance records, income tax records, records concerning a grant from the Pollock-Krasner Foundation, estate records, card files, lists of art work, price lists, exhibition entry cards, receipts for the sale of art work, travel receipts, medical receipts, and consignment/sales records.

Notes and writings include three diaries, two travel journals, guest books, miscellaneous lists, schedules of classes for various organizations and art schools including the Ansel Adams Yosemite Workshop, typescripts of lecture notes, and miscellaneous notes. There are also scattered writings by Bothwell and others.

Seventeen sketchbooks, including several completed during Bothwell's travels, and one dated 1942 illustrated with daily drawings of her activities while preparing for World War II, are found within the papers. There are also miscellaneous drawings, collages, a serigraph It's Time for a Change, an etching by Martha Jackson, and a drawing by Charles Howard.

Three scrapbooks contain clippings, exhibition announcements and catalogs, programs, and photographs of art work. Scrapbook 3 contains materials concerning spiritualism and mysticism. Additional printed material consists of clippings, exhibition announcements and catalogs, press releases, brochures for art classes, the sale of art work, travel, and camera equipment, reproductions of art work, picture postcards, programs, books, and miscellaneous commercial business cards.

Photographs are of Bothwell, her mother and brother, her studio/residences, miscellaneous friends and colleagues including her former husband, sculptor Donal Hord, miscellaneous events, and art classes conducted by Bothwell. There are also photographs of art work by Bothwell and others, as well as numerous photographs and slides of travel various forms in nature that Bothwell would incorporate into her art work.
Arrangement:
The collection is arranged as 8 series:

Missing Title

Series 1: Biographical Material, 1939-2001 (Box 1, 11, 13, 15; 0.6 linear feet)

Series 2: Correspondence, 1942-2002 (Box 1-3, 13; 2.3 linear feet)

Series 3: Personal Business Records, 1925-2006 (Box 3-4; 0.7 linear feet)

Series 4: Notes and Writings, 1949-1998 (Box 4, 11, 14, 15; 0.8 linear feet.)

Series 5: Art Work, 1920-1994 (Box 4-5, 11, 13, 16, 17; 1.5 linear feet)

Series 6: Scrapbooks, 1926-1979 (Box 5, 11, 12; 0.5 linear feet)

Series 7: Printed Material, 1923-2000 (Box 5-7, 12, 13; 1.8 linear feet)

Series 8: Photographs, 1900-2001 (Box 7-9, 10; 2.4 linear feet, ER01-ER04; 1.72 GB)
Biographical Note:
Dorr Bothwell (1902-2000) worked primarily in California as a painter, printmaker, and art instructor.

Doris Bothwell was born on May 3, 1902 in San Francisco, and later changed her first name to Dorr in order to more easily enter the art business. Bothwell began her art studies in 1916 with her parents' friend Anna Valentien, a student of Rodin. Between 1921 and 1922, she studied at the California School of Fine Art, and continued her studies at the University of Oregon at Eugene. After attending the Rudolph Schaeffer School of Design in 1924, she established her own studio in San Francisco from 1924 to 1927. Also during this time Bothwell, with eight other artists opened the Modern Gallery on Montgomery Street, mounting her first solo exhibition there in 1927.

Between 1928 and 1929, Bothwell traveled to American Samoa, where she created paintings and drawings, and documented tapa (barkcloth) drawings for the Bishop Museum of Honolulu. She then spent a year of study in Europe, returning to San Diego, California in 1931 and marrying sculptor Donal Hord. Four years later, they divorced and she moved to Los Angeles where she worked for the pottery manufacturer Gladding McBean, joined the post-surrealist group around Lorser Feitelson and Helen Lundeberg and opened the Bothwell-Cooke Gallery.

Between 1936 and 1939, Bothwell worked in the mural division of the Federal Arts Project of Los Angeles, and learned the art of serigraph printing. She designed dioramas and mechanized exhibitions for the Los Angeles County Museum. In 1940 she also created murals in the Manning Coffee Restaurant in San Francisco.

After teaching color and design at the California School of Fine Art in San Francisco from 1944 to 1948, Bothwell was awarded the Abraham Rosenberg Traveling Scholarship that financed study in Paris from 1949 to the fall of 1951. In 1952 she taught textile design for mass production at the Parsons School of Design in New York City.

Returning to San Francisco, Bothwell taught again at the California School of Fine Art from 1953 to 1958, and at the San Francisco Art Institute from 1959 to 1960. From 1960 to 1961 she took a sabbatical in England and France, creating paintings for an exhibition. In 1962 she was asked to teach at the new Mendocino Art Center and she taught there until 1983. She was also asked by Ansel Adams to teach design and composition for photographers at his Yosemite Workshop summer sessions, which she did from 1964 to 1977.

From 1966 to 1967, Bothwell documented indigo dying techniques, strip weaving, and pottery in Western Nigeria and Tunisia. In 1968, she published her book, co-authored with Marlys Frey, NOTAN The Principle of Dark-Light Design. The book was reissued in 1991. Bothwell continued her travels from 1970 to 1971, when she studied 12th century enamels in England, France, and Holland, and conducted a symposium, "Notan Design," for the London Educational Authority. In 1974, she traveled to Bali, Java, and Sumatra, making a slide documentary on batik, woodcarving, and folk design.

In 1977 Bothwell moved to Joshua Tree, California, from Mendocino in Northern California, but moved back and forth between the two studio/residences until 1992 when she moved to her last residence on the desert at Apache Junction, Arizona. From 1979 to 1980, she taught composition at the Victor School of Photography in Colorado and a design course at the Women's Art Guild in Kauai, Hawaii. Following a tour of China with a watercolor artists' group in 1982, Bothwell conducted workshops at the Mendocino Art Center. In 1985, she traveled to Japan.

Dorr Bothwell died on September 24, 2000 in Fort Bragg, California.
Provenance:
The Dorr Bothwell papers were donated in 1978 by the artist, and in 2002, 2009, and 2012 by the Dorr Bothwell Trust.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Muralists -- California  Search this
Painters -- California  Search this
Art teachers -- California  Search this
Printmakers -- California  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Artists' studios -- Photographs  Search this
Surrealism  Search this
World War, 1939-1945  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Citation:
Dorr Bothwell papers, 1900-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bothdorr
See more items in:
Dorr Bothwell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bothdorr

Research and Subject Files

Collection Creator:
Blackshear, Kathleen, 1897-1988  Search this
Spears, Ethel, 1903-1974  Search this
Extent:
4 Linear feet (Boxes 6-9)
Type:
Archival materials
Date:
circa 1920s-circa 1960s
Scope and Contents:
Files consist of Blackshear's research and notes on art movements, places, and techniques. It is likely they were used to prepare for lectures at the School of the Institute of Chicago and other schools and institutions at which she was invited to speak. Files may contain handwritten notes taken from dismantled binders and printed material.
Arrangement:
Researchers should note that many of the titles were transcribed from dismantled binders.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Kathleen Blackshear and Ethel Spears papers, 1920-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blackath, Series 6
See more items in:
Kathleen Blackshear and Ethel Spears papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-blackath-ref181

Crown Point Press records, 1962-2018

Creator:
Crown Point Press (Oakland, Calif.)  Search this
Crown Point Press (Oakland, Calif.)  Search this
Subject:
Brown, Kathan  Search this
Topic:
Prints -- Technique -- California -- San Francisco  Search this
Record number:
(DSI-AAA_CollID)17600
(DSI-AAA_SIRISBib)396546
AAA_collcode_crowpoin
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_396546

Crown Point Press records

Creator:
Crown Point Press (Oakland, Calif.)  Search this
Names:
Brown, Kathan  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1962-2018
Scope and Contents:
The Crown Point Press records measure 1.0 linear foot and date from 1962-2018. Included are artists' files, printed material, and DVDs of lectures by Kathan Brown.
Biographical / Historical:
Crown Point Press (1962- ) is a workshop and print studio specializing in intaglio print making in San Francisco, California. Crown Point Press was founded by Kathan Brown in Richmond, California. It moved to Berkeley and then Oakland before settling in 1986 in San Francisco.
Provenance:
Donated 2018 by Crown Point Press via Kathan Brown, founder. Additional printed material donated 2019 by Crown Point Press via Sasha Baguskas, Editor and Publications Coordinator.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of born digital records with no duplicate copy requires advance notice.
Topic:
Prints -- Technique -- California -- San Francisco  Search this
Identifier:
AAA.crowpoin
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-crowpoin

Judson Smith papers, 1887-1975

Creator:
Smith, Judson Dejonge, 1880-1962  Search this
Smith, Judson Dejonge, 1880-1962  Search this
Subject:
Ernst, Jimmy  Search this
Fiene, Ernest  Search this
Gies, Joseph  Search this
Knight, Frederic C.  Search this
Kuniyoshi, Yasuo  Search this
McFee, Henry Lee  Search this
Montminy, Pierre  Search this
Reinhardt, Ad  Search this
Rosen, Charles  Search this
Tomlin, Bradley Walker  Search this
Wheelock, Warren  Search this
Bouché, Louis  Search this
Carlson, John F.  Search this
Colman, Anne  Search this
Dasburg, Andrew  Search this
Diebenkorn, Richard  Search this
Dudensing, F. Valentine  Search this
Woodstock School of Painting  Search this
Theme:
Art Materials, Techniques, and Studio Art Education  Search this
Record number:
(DSI-AAA_CollID)8661
(DSI-AAA_SIRISBib)210841
AAA_collcode_smitjuds
Theme:
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210841

Paint mortar

Culture/People:
possibly Woodland Tradition (archaeological culture) (attributed)  Search this
Possible owner:
William Clement Bryant (William C. Bryant), Non-Indian, 1830-1898  Search this
Previous owner:
William Letchworth Bryant (William L. Bryant), Non-Indian, 1871-1947  Search this
Seller:
William Letchworth Bryant (William L. Bryant), Non-Indian, 1871-1947  Search this
Presenter/funding source:
Harmon W. Hendricks (Harmon Washington Hendricks), Non-Indian, 1846-1928  Search this
Object Name:
Paint mortar
Media/Materials:
Stone
Techniques:
Ground
Object Type:
Art and Printing tools
Place:
Fort Erie; Niagara Regional Municipality; Ontario; Canada
Date created:
1000 BC–AD 1600 (Early to Late Woodland period)
Catalog Number:
10/3756
Barcode:
103756.000
See related items:
Woodland Tradition (archaeological culture)
Art and Printing tools
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws6ee216d5e-eca0-4f85-8015-2a17cc4330c3
EDAN-URL:
edanmdm:NMAI_112150
Online Media:

Birds Spirit

Culture/People:
Cree Metis  Search this
Artist/Maker:
Pat Bruderer, Cree Metis  Search this
Title:
Birds Spirit
Object Name:
Dental pictograph/Dental pattern
Media/Materials:
Birchbark
Techniques:
Bitten
Dimensions:
11 x 21 cm
Object Type:
Art and Printing tools
Place:
Winnipeg; Winnipeg Capital Region; Manitoba; Canada
Date created:
2012
Catalog Number:
27/184
Barcode:
270184.000
See related items:
Cree Metis
Art and Printing tools
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws6da4d6cff-1a5a-49cd-8f33-277fa3c6a202
EDAN-URL:
edanmdm:NMAI_415594

Picture frame

Culture/People:
Tuscarora  Search this
Artist/Maker:
Matilda Hill, Tuscarora, 1894-1985  Search this
Previous owner:
Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this
IACB agent:
Nancy Engle, Non-Indian  Search this
IACB source:
Matilda Hill, Tuscarora, 1894-1985  Search this
Object Name:
Picture frame
Media/Materials:
Velvet, glass bead/beads, thread, paper, ink
Techniques:
Sewn, overlay beadwork, edge beaded, printed
Dimensions:
16.8 x 11.4 x 1.0 cm
Object Type:
Made-for-Sale items and Souvenirs
Place:
Lewiston; Niagara County; New York; USA
Date created:
1969
Catalog Number:
26/1210
Barcode:
261210.000
See related items:
Tuscarora
Made-for-Sale items and Souvenirs
On View:
NMAI, New York, NY: Native New York, Niagra Falls (Ex14)
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws678039eba-91c1-4233-b147-43539994d2c9
EDAN-URL:
edanmdm:NMAI_277307

General Grant and Family

Physical Description:
engraving (overall production method/technique)
Measurements:
overall: 14 1/2 in x 12 1/2 in; 36.83 cm x 31.75 cm
Object Name:
Print
Associated date:
1869
Credit Line:
The Ralph E Becker Collection of Political Americana
ID Number:
PL.227739.1869.G03
Catalog number:
227739.1869.G03
See more items in:
Political and Military History: Political History, General History Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a2-f7cd-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_496152

Scarf

Designer:
Nathalie Du Pasquier, (French, active Milan, born 1957)  Search this
Medium:
Medium: silk Technique: screen printed on 2/2 twill-woven foundation
Dimensions:
H x W: 86 x 86.5 cm (33 7/8 x 34 1/16 in.)
Type:
printed, dyed & painted textiles
Scarf
Made in:
Italy
Date:
1983
Credit Line:
Gift of Nathalie du Pasquier
Accession Number:
1986-80-1
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq437f9dc21-4f92-4bdd-aff1-c37b5cd9bc7a
EDAN-URL:
edanmdm:chndm_1986-80-1

Textile

Medium:
Medium: cotton Technique: printed
Dimensions:
H x W: 197.5 × 83.8 cm (6 ft. 5 3/4 in. × 33 in.)
Type:
printed, dyed & painted textiles
Textile
Date:
20th century
Accession Number:
1973-49-3
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq441483e5c-048e-4be8-9440-e411c4738c61
EDAN-URL:
edanmdm:chndm_1973-49-3

Cecilia Beaux papers

Creator:
Beaux, Cecilia, 1855-1942  Search this
Names:
Andrew, A. Piatt (Abram Piatt), 1873-1936  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Poems
Diaries
Date:
1863-1968
Summary:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968. Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts.
Scope and Content Note:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968.

Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers.

Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found.

A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting.
Arrangement:
The collection is arranged into 6 series, with multiple subseries in Series 2:

Missing Title

Series 1: Biographical Materials, circa 1893-1943 (Box 1, OV 4-5; 0.3 linear feet)

Series 2: Correspondence, circa 1863-1968 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings, circa 1868-1954 (Boxes 2-3, OV 6; 0.8 linear feet)

Series 4: Personal Business Records, circa 1883-1936 (Box 3, OV 6; 0.2 linear feet)

Series 5: Printed Materials, circa 1874-1953 (Box 3, OV 6; 0.5 linear feet)

Series 6: Photographs, circa 1888-1919(Box 3; 0.3 linear feet)
Biographical Note:
Cecilia Beaux was born in Philadelphia in 1855. Her mother died just days after her birth, and Beaux and her sister went to live with their grandmother and aunts. Her adoptive family exposed her to fine art throughout her childhood and, once in school, Beaux excelled in her drawing classes and began training in the studio of Catherine A. Drinker, an artist and a cousin of her uncle Will Biddle. From 1881-1883 she attended life classes directed by William Sartain, who traveled to Philadelphia from New York to give criticisms. She also counted the Pennsylvania Academy of the Fine Arts master Thomas Eakins among her early influences, though she did not receive direct instruction from him.

Her first major success in painting was a double-portrait of her sister and nephew entitled Les Derniers Jours d'Enfance, exhibited first at the American Art Association, and in 1885 at the Pennsylvania Academy, where it won the Mary Smith Prize, the first of many prizes Beaux received during her lifetime. In 1887, the painting was exhibited at the Paris salon to critical acclaim. Beaux's reputation as a Philadelphia portraitist grew steadily with the execution of several portraits her in Chestnut Street studio, and in 1888 she traveled to Europe to continue her studio education.

In Paris, she joined the Academie Julien, where she received criticisms from Tony Robert Fleury and William Adolph Bougereau. She spent the summer in Concarneau, Brittany, where Alexander Harrison and Charles Lazar critiqued her work, and returned to Paris, where she attended the Academie Colarossi under and sought out private criticisms in the atelier of Benjamin Constant. She copied paintings and classical sculpture at the Louvre, and traveled throughout Europe to view the works of old masters. In England, she painted several portraits of her friends, the Darwins, before returning to Philadelphia in August of 1889. She traveled to Europe several more times in her life, including a trip in 1896 to see six of her paintings exhibited at the Salon de Champs de Mars. At the time this was an unprecedented number of paintings shown there by an American, and their strength earned her a membership in the Societé Nationale des Beaux-Arts.

In the 1890s, Beaux earned a living painting commissioned portraits at her Philadelphia studio, while experimenting with and refining her style and technique with portraits of friends and family such as Sita and Sarita, of her cousin Sarah Leavitt with her cat, The Dreamer, of her friend Caroline Smith, and Ernesta with Nurse, of her niece, who was a favorite sitter of Beaux's throughout her life. Beaux became the first full-time female faculty member at the Pennsylvania Academy of the Fine Arts in 1895, and continued teaching there until 1915.

In the late 1890s, Beaux painted several works for which she would be repeatedly honored, including Mother and Daughter, a double-portrait of Mrs. Clement A. Griscom and her daughter Frances, which won four gold medals at international exhibitions, and The Dancing Lesson, a double-portrait of Dorothea and Francesca Gilder, the daughters of Richard Watson Gilder, editor of Century Magazine and himself a devoted friend and supporter of Beaux. The Gilders, and especially Dorothea, were steady companions as well as sitters for Beaux throughout her adult life. In 1901 and 1902, Beaux painted Mrs. Theodore Roosevelt and her daughter Ethel in the White House, and in 1903, she was elected to the National Academy of Design.

By 1905 Beaux was living and working primarily in New York during the winter, and at "Green Alley," a home she built in Gloucester, Massachusetts, in the summer. She was introduced to Gloucester by her friend, the Harvard economist A. Piatt Andrew, and entertained a steady stream of intellectual, literary, and artistic friends such as Isabella Stuart Gardner, William James, and Thornton Oakley. Beaux continued to amass prizes and honors for her artwork, including an honorary doctorate at the University of Pennsylvania in 1908. She had solo exhibitions at Macbeth Gallery in 1910, the Corcoran Gallery in 1912, and M. Knoedler Gallery in 1915 and 1917. She had regular public speaking appearances, published articles, and interviews on such subjects as art education, women in art, and modernist art, the pervasive influence of which she eschewed as a passing fad.

In 1919, she traveled to war-torn Europe as the official portraitist of the United States War Portraits Commission painted the portraits of three European war heroes: Cardinal Mercier, Admiral Beatty, and Georges Clemenceau. In 1924, she broke her hip in Paris, and although she continued to paint, she would never again be the prolific painter of her earlier years due to the injury. She wrote her autobiography Background with Figures in 1930, and in 1935-1936, the American Academy of Arts and Letters held the largest exhibition of her work that was mounted during her lifetime. Beaux died in 1942 in Gloucester, at the age of 87.
Related Material:
The Pennsylvania Academy of the Fine Arts holds additional papers related to Cecilia Beaux, particularly personal photographs. Portions of these papers were loaned to the Archives of American Art for microfilming in 1985 and were microfilmed on reel 3658.

The Archives of American Art also holds the Dorothea Gilder papers regarding Cecilia Beaux.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 3425 and 3658) including a sketchbook and other related papers. Lent materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Portions of the papers were first lent for microfilming by Harrison Cultra in 1968. The bulk of the collection was donated in1970-1971 by Catherine Drinker Bowen, Beaux's niece, and by Cultra. In 1985, the sketchbook on reel 3425 was lent for microfilming by art dealer Jeffrey Brown with additional material by The Pennsylvania Academy of Fine Arts. A palette was donated by Helen Seely Wheelwright, whose former husband, Paul Seeley, was an artist and friend of Beaux. Awards and diplomas were gifted in 1995 by Cecilia Saltonstall, a descendant of Beaux. Material and a poster reproduction of Beaux's portrait of Rear-Admiral Sampson advertising an article in Century Magazine, 1899, was donated in 1991 by Alfred J. Walker, a dealer who organized a Beaux exhibition. He received the material along with artwork he exhibited from the estate of Richard Barker, who had received them from Harrison Cultra. Cultra had inherited them from Beaux's niece, Ernesta Drinker Barlow.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Pennsylvania -- Philadelphia  Search this
Portrait painters -- Pennsylvania -- Philadelphia  Search this
Educators -- Pennsylvania -- Philadelphia  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Art -- Economic aspects  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Poems
Diaries
Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beauceci
Online Media:

Writings

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Extent:
0.8 Linear feet (Boxes 2-3, OV 6)
Type:
Archival materials
Date:
circa 1868-1954
Scope and Contents note:
This series includes twelve diaries, notebooks, lectures, essays, poetry, and notes written primarily by Cecilia Beaux, as well as a collection of poems and essays about Cecilia Beaux by various authors including Royal Cortissoz, Richard Watson Gilder, and others. A single sketch on notepaper, which appears to be a study for a portrait, is filed at the end of this series.

Twelve diaries contain entries recording daily activities, including regular notes on her work in the studio and with various sitters for portraits. Some entries are quite brief, and others go on at length about her social life in Europe and America; occasional meetings with prominent figures such as Ida Tarbell, Clarence Day, J. Alden Weir, George Bellows, the Roosevelts, and others; jurying; sitters; women's suffrage; and women in art.

Lectures and essays on a variety of art subjects are found, usually in the form of annotated typescripts and often in multiple drafts, filed chronologically with their titles or subjects listed in folder headings. The latest draft of each work is filed first in each folder. Beaux writes of her own experiences as an artist, art techniques, education, critical or theoretical ideas, and autobiographical subjects which are unrelated to art. Included are several essays in the form of letters to unidentified recipients, including a detailed account of her time time spent in Malines, Belgium, to paint Cardinal Mercier in 1919. Lengthy prose fragments, many of them autobiographical, are possibly drafts from her 1930 memoir, Background with Figures.

Poems by Beaux are arranged chronologically, with published poems filed first, along with clippings of their published versions, followed by unpublished poems, titled and untitled. Additional poems are found in her 1868-1884 school notebook. Writings about Cecilia Beaux include poems by Richard Watson Gilder, Adrian Smith, and Adeline Adams; and prose by Royal Cortissoz, Paul Bion, and Eugene Neuhaus. Also found here are corrected galley proofs for an unattributed, published article on American Art that quotes Beaux extensively.

Notebooks include school notes and poetry, expenses, contacts, and what appear to be teaching records. A notebook labeled "Important Data" contains summaries by year of autobiographical data. Other notes include corrections and annotated proofs for Background with Figures, and collection notes by Beaux and others that relate to items in this collection.

Printed editions of some poems and essays are also found in Printed Materials. Additional autobiographical notes and essays are found in Biographical materials and Correspondence. See series descriptions for further details.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci, Series 3
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref69

Dallas -- Mockingbird Farms

Landscape architect:
Fields, Paul  Search this
Fultan, Duncan T.  Search this
Provenance:
Founders Garden Club of Dallas  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Mockingbird Farms (Dallas, Texas)
United States of America -- Texas -- Dallas County -- Dallas
Scope and Contents:
The folder includes worksheets, building and landscape plans, blog excerpts, and other information.
General:
Mockingbird Farms operates as a community of friends, the result of a unique combination of a private home and a community garden. The home was built in 1990 and the garden was later established in 2008 after a neighboring plot of land became available. Rather than being subdivided into individual plots, the garden is managed as a single shared plot (humorously referred to as the "communist plot") that also serves as a gathering space for social events as well as a community garden. The members of the garden community share in experimenting with gardening techniques and communicate with each other through a private blog that allows them to coordinate planting and harvesting efforts and to plan social gatherings.
Persons associated with the garden include: Paul Fields, Lambert Landscape Company (landscape architect, 2000, 2008); and Duncan Fultan (landscape architect, 2009).
Related Materials:
Mockingbird Farms related holdings consist of 1 folder (15 35mm slides (photographs); 6 photographic prints)
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Texas -- Dallas  Search this
Community gardens  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File TX102
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Texas
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref13487
Online Media:

Drawings, Sketches, and Designs

Collection Creator:
Knoll, Florence, 1917-  Search this
Extent:
(Boxes 1-2; 2 portfolios)
Type:
Archival materials
Date:
1932-1984, 1999
Scope and Contents note:
The first item in this series is a portfolio of original, and copies of, drawings, sketches, plans, and miscellany, such as two greeting cards designed by Hans and Florence Knoll, in addition to copies of printed matter and photographs of projects undertaken by Knoll Associates. The majority of the designs were executed by Knoll Bassett for her own use or as more formal presentations for clients, but there are also copies of sketches by others including Hans Knoll and Andy Warhol. The material includes the original drawing for Knoll Bassett's first house design at Kingswood School, executed in 1932. Material relating to Knoll projects illustrate Knoll Bassett's practice of using three-dimensional models with fabric swatches applied to furniture layout plans for client presentations, a technique which later became a standard in the profession. The portfolio is annotated by Knoll Bassett.

A spiral-bound portfolio containing sketches by Knoll Bassett of a cruise of the Greek Islands in 1967 can also be found here.
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.knolflor, Series 3
See more items in:
Florence Knoll Bassett papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-knolflor-ref20

Eve Peri papers

Creator:
Peri, Eve, 1897-1966  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1900-1996, bulk 1939-1966
Summary:
The papers of painter and embroidery artist Eve Peri measure 0.6 linear feet and date from circa 1900 to 1996 with the bulk of materials dating from 1939 to 1966. The papers are scattered and include biographical materials, travel documents, correspondence, financial records, printed material, designs for embroidered clothing, and photographs.
Scope and Contents:
The papers of painter and embroidery artist Eve Peri measure 0.6 linear feet and date from circa 1900 to 1996 with the bulk of materials dating from 1939 to 1966. The papers are scattered and include biographical materials, travel documents, correspondence, financial records, printed material, designs for embroidered clothing, and photographs.
Arrangement:
The collection is arranged as one series.

Series 1: Eve Peri papers, circa 1900-1996 (0.6 linear feet; Box 1, OV2-3)
Biographical / Historical:
Eve Peri (1897-1966) was a collagist, embroiderer, and painter active in New York City, New York.

Eve Peri was born in Bangor, Maine in 1897. From her mother and aunts, Peri learned traditional quilting and embroidery techniques. A largely self-trained artist, she used her skills to design clothing, tapestry, and collages and also painted. She collaborated with her husband Alfonso Umana Mendez, a designer for Fred Leighton, designing women's embroidered clothing. After divorcing in 1939, she traveled around Europe and began to exhibit her works.

Peri moved to Philadelphia, Pennsylvania late in life and opened a gallery in New Hope to show her works. She died in 1966.
Provenance:
The Eve Peri papers were donated by Elizabeth Bullock and Judith Stein, executor and curator of the estate in 2001.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Collagists -- New York (State) -- New York  Search this
Fiber artists -- New York (State) -- New York  Search this
Topic:
Embroidery  Search this
Fiberwork  Search this
Painters -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Photographs
Citation:
Eve Peri papers, circa 1900-1996, bulk 1939-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.perieve
See more items in:
Eve Peri papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-perieve

Curator Ann Yonemura on Hokusai

Creator:
Freer Gallery of Art and Arthur M. Sackler Gallery  Search this
Type:
YouTube Videos
Uploaded:
2012-06-13T18:32:40.000Z
YouTube Category:
Education  Search this
Topic:
Art, Asian  Search this
See more by:
FreerSackler
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
YouTube Channel:
FreerSackler
EDAN-URL:
edanmdm:yt_-fhius5R3IQ

Tour: Chandra Discoveries in 3D Available on New Platform

Creator:
Smithsonian Astrophysical Observatory  Search this
Type:
YouTube Videos
Uploaded:
2021-05-20T13:00:01.000Z
YouTube Category:
Science & Technology  Search this
Topic:
Astronomy  Search this
See more by:
cxcpub
Data Source:
Smithsonian Astrophysical Observatory
YouTube Channel:
cxcpub
EDAN-URL:
edanmdm:yt_2_SyNqWPZJY

Michael Eden on Bloom Vase

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2014-11-25T20:24:34.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_05dBwtN4Fyc

Design Dictionary: Offset Lithography

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2014-06-17T13:07:39.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_601EFhOTiR4

Modify Your Search







or


Narrow By